Fraternities are an integral part of university life in the USA. While the organisations and their members are well known on every campus, they still carry a certain air of mystery and secrecy, rather like the Freemasons. What goes on behind closed doors - and the implications of being a faithful member of such a society - forms the basis of Max Allen’s gripping debut play FRAT.
A towering piece of theatre with a stunning cast
There is a highly talented team that makes FRAT a compelling production. Max Allen is joined on stage by Luke Stiles, Elliott Diner and Will Hammond. All are graduates of LAMDA, and the quality of their training shines through every moment of the play. With their first lines, they instil confidence as performers – each manifestly self-assured and able to generate a powerful presence, delivering the dialogue with clarity and conviction. From the outset, you know this is going to be good. We become familiar with the characters and their roles in the formally structured Beta Chi Omega, and as we gain insights into the camaraderie and banter of frat life, an air of suspense creeps in and we begin to wonder where it’s all heading.
An abstract soundscape by Pierre Flasse hauntingly increases the tension, and the atmosphere is heightened by lighting from Mason Delman. Seeds are sown - often in casual lines - that suggest all is not well beneath the superficial playfulness masking deeper feelings. The green-eyed monster lurks within the pack; envy runs deep, and before long, events unfold at the fraternity’s big night that cannot be camouflaged. The party turns into a courtroom drama.
The story is a heady mix, influenced by major works such as The Riot Club and Lord of the Flies, and it’s a refreshing choice of subject, exploring power, masculinity, group morality, tradition and identity in a gutsy manner. Director Olivia Woods rises to the challenge of the confined space with well-crafted, flowing movement that matches the pace and precision of the delivery. These are early yet highly successful days for this play. Inevitably, as with any new work, some tweaking and development remain, but even now, it is a towering piece of theatre with a stunning cast.
FRAT had a sold-out London premiere at the Old Red Lion Theatre before going to Brighton Fringe. It is also heading to Edinburgh this August and has been selected for performance at the prestigious international Comparative Drama Conference in July 2025.
